PASS IT ON ISSUE 59
PASS IT ON - ISSUE 59: DATE
Hi everyone! I hope you have all had a fantastic week. Thanks to all who
have contributed and a special hello to all new members. Thank you also to
everyone who has offered support and encouragement, I really do appreciate
it. Please enjoy this week's issue of PASS IT ON.
A Disclaimer of Liability
Please ensure that your submissions are ACCURATE and clear. I will accept no
responsibility for any errors or omissions contained in the information
submitted. PLEASE be careful.
To unsubscribe send an email to jacket@smartchat.net.au with "unsubscribe"
in the subject heading.
WHAT IS PASS IT ON?
PASS IT ON is a weekly, on-line, interactive, networking newsletter for
those involved with or interested in the children's writing industry. It is
emailed to subscribers every Monday.
PASS IT ON will survive for as long as YOU the CONTRIBUTOR determine. I am
the collection point for YOUR submissions. I am one cog in a tool that has
the potential to be very powerful. (submission guidelines can be found at
the end of the newsletter)
If you wish to receive PASS IT ON - email me, Jackie Hosking at
jacket@smartchat.net.au and I will send you the most recent issue of the
newsletter and an invoice. If you like what you see, please return the
invoice along with your payment and I will add you to the subscriber's list.
If you join in July it will cost you $24.00 If you join in August, it will
cost you $22.00 If you join in September, it will cost you $20.00 etc...
(all subscriptions will then be due on
Please contribute as often as you can and be assured that I will treat your
contact details with the utmost confidentiality. I look forward to making
many more new friends.
Past issues may be viewed at my website www.jackiehosking.com
GENERAL INFORMATION
The winner of The Jelindel Chronicles competition was: Mrs J A Murrary. She
has won $1000 worth of Penguin books for
Street
Shortlist for the Guardian Children's Fiction Prize
http://books.guardian.co.uk/childrensfictionprize2005/story/0,16065,1571857,00.html
Australians at International Festivals
BERLIN LITERATURE FESTIVAL September 2005
The Berlin Literature festival included Australian authors Sonya Hartnett
and Phillip Gwynne. Press onto English for details:-
www.literaturfestival.com
UBUD Writers Festival 6th-11th October 2005
Ubud Writers Festival includes Australian children's authors Susanne Gervay
and Scott Gardner and illustrator Shaun Tan. Details are available on:-
www.ubudwritersfestival.com
Random House have stated they are only publishing one or two books per year
on their local children's publishing program and have stopped considering
unsolicited picture book submissions.
Writers sue Google for copyright infringement
A group representing more than 8,000
that the company's attempt to digitise the book collections of several major
libraries represents massive copyright infringement.
The lawsuit, filed by the Authors Guild in the
the fledgling effort aimed at creating a searchable library of all the
world's printed books.
The lawsuit seeks class-action status -allowing multiple plaintiffs - asks
for damages and demands an injunction to halt further infringements.
The full article can be accessed at:
http://books.guardian.co.uk/news/articles/0,6109,1575455,00.html
About Scholastic
Scholastic Corporation is the world's largest publisher and distributor of
children's books and a leader in educational technology. Scholastic creates
quality educational and entertaining materials and products for use in
school and at home, including children's books, magazines, technology-based
products, teacher materials, television programming, film, videos and toys.
The Company distributes its products and services through a variety of
channels, including proprietary school-based book clubs, school-based book
fairs, and school-based and direct-to-home continuity programs; retail
stores, schools, libraries and television networks; and the Company's
Internet site, www.scholastic.com
Children's Book Publishing and Distribution in USA, segment revenues in the
quarter were $275.3 million, compared to $121.8 million in the prior year
period. Harry Potter revenue increased to approximately $185 million from
about $10 million in last year's first quarter, reflecting the successful
launch of Harry Potter and the Half-Blood Prince, as well as higher sales of
Harry Potter backlist titles.
JUDITH CLARKE IS AN AWARD WINNING YOUNG ADULT AUTHOR WHO HAS GONE SERIOUSLY
INTERNATIONAL
KALPANA'S DREAM by JUDITH CLARKE has just been released in the USA
(published by A & U in Australia) and has won Boston Globe-Horn Book Award
Judith Clarke was born in Sydney and educated at the University of New South
Wales and the Australian National University in Canberra. She has worked as
a teacher and librarian, and in Adult Education in
Wales
son.
Judith Clarke's novels include the multi-award-winning Wolf on the Fold, as
well as Friend of my Heart, Night Train, Starry Nights, and the Al Capsella
series.
SEEKING
Hello PIOers,
our local writers group was sent a flier from Seachange Publishing. The
publisher Robyn Henderson is going to come to our area and put on a self
funded writing workshop if we can get a minimum of 20 participants. A few of
us smell a rat. I checked out her website and she also publishes compilation
books. She sounds like a vanity publisher. Has anyone else had dealings with
this woman?
Beth, Wonthaggi
REPLIES TO SEEKING
The Winnies competition results were posted to entrants if they included a
SSAE with their entry (this was noted on the entry information) and I
thought I also saw the results in a recent. As for the judge's report, I
haven't seen one, but perhaps the website will include this in time.
Re: The Winnies - Last week I asked where entrants could source results, but
I see the website was updated last Thursday with the info, after I submitted
my query. Sorry for any confusion!
MM
Re: The Winnies. I discovered the same as MM and her students regarding The
Winnies website (ie that it had not been updated). I sent 2 emails to the
webmaster prior to the results being published in PIO, asking when the
results would be published, but received no reply. I have just re-checked
the site however, and it seems that the results are all now listed. KF
Janette Dalgliesh, who took on the role of "webmaster" for The
Winnies, passes on her most profound apologies about the slowness in
updating the website, and can only plead the pressures of a new, very
hectic, job. The results for The Winnies are now there in full, and we
will consider adding the judges' reports when we next meet. We've had a lot
of questions regarding Krista Bell's decision not to award a Third Prize.
Kirsta wishes it to be known that "No third placing was
awarded this year as no entry was considered to be of sufficient standard to
receive this honour."
This decision was the subject of several discussions with the
organisers. It is not uncommon in large competitions such as this for
the judge to reserve prizes if he/she feels the shortlisted entries do
not meet his/her criteria. This is entirely the judge's decision, and
as such we respect and support it.
Kelsey and Janette have learned an amazing amount from this first
year, and we intend to improve as much as we can for next year. One
strategy might be to set aside funds from the project to pay for the
website and/or administration, which means things will get done
faster.
Your comments and suggestions are integral to the future development of The
Winnies and we thank everyone for the tremendous support we have received.
If anyone has other feedback they'd like us to hear, do please get in touch
via the website.
In terms of the poetry website, Janette plans to work with the poetry
organisers shortly to update their part of the website too.
Onward and upward!
Janette and Kelsey
Co-conveners,
The Winnies Literary Competition
http://www.geocities.com/wordcomp/winnies.html
Edel Wignell writes:
In regard to Australian A4 paper, I have found that publishers are happy to
read mss on this. Once, when I was asked for a short story for a
anthology, the compiler requested that I use a wider right hand margin so
that he could guillotine my pages and present the collection neatly to a
publisher. I don't think this will happen in future as electronic
presentation is becoming more and more acceptable.
I have found that IRCs are acceptable to publishers everywhere. Only two
have mentioned that they don't accept them. Both were newish publishers and,
I guess they thought that presenting them would involve paperwork. Next time
I sent a ms, I included an IRC and explained that it can be exchanged for
postage at a Post Office. No problem!
In relation to searching the Australian Writer's Marketplace and planning
strategic submissions to publishers, the 2006 AWM will be available from Oct
1st on-line. I think the fee is $88 for a one year subscription and you get
instant updates to phone nos, addresses, contact names etc as they come in.
No more out of date contact details!
For more information about this valuable resource go to www.qwc.asn.au
NEW PUBLICATIONS
SPECIAL EVENTS
MARKET OPPORTUNITIES
· Australian compiler seeks short stories to suit ages 8 to 10 up to
1200 words for an anthology. Preference will be given to contemporary
stories. Australian Society of Authors' rates offered. Deadline is November
30. Selection will be made by December 30, at which time receipt of all
manuscripts will be acknowledged and decisions posted. Please include
s.s.a.e. with your submission to ensure you are informed. One story only per
contributor. If your story is already published, please state publication
and date of publication. Please note at this stage, not many stories have
been received. The anthology can only be compiled if there are sufficient
stories from which to make a selection. Address:
NSW
COMPETITIONS/AWARDS
· GiGi Books
Entertaining and educational audio stories for kids!
2nd GiGi Books Children's Book Writing Contest
Children's Book Writing Contest
. Three Prize Winners will have their work produced into a theatrical audio
production and an e-book!
. An additional 20 submissions will be chosen to participate in a read along
book and be made into an e-book
20 runner ups will be chosen and their stories placed in an illustrated read
along e-book
. All winners and runner ups will receive a one year GiGi Membership and
their works will be included in the membership site.(coming soon)
. (see web page for details)
http://www.gigiaudiobooks.com/html/contest.php
SUBMISSION REQUIREMENTS
* Send your Children's Book manuscript to GiGi Books LLC,
Waterford Road
* Stories must be 1200 words or less
* A $12.00 entrance/processing fee must accompany each original work
submitted.
* Make Check or money order payable to, GiGi Books LLC.
* You may submit as many original manuscripts as you like.
* The entrance/processing fee is non refundable. You will be notified via
E-mail upon receipt of your submission.
* On-line submissions will be accepted. Send manuscript as a word document
via E-mail to contest@gigiaudiobooks.com and go to
www.gigiaudiobooks.com/contest.htm and click on "submit online" to pay
entrance/processing fee.
* Submissions must be received by
* Winners will be notified by
* All submissions must include mailing address, telephone number and E-mail
address.
* All submissions must be original work and not previously published
* All works published will be subject to the standard GiGi Book Publishing
agreement.
* This contest is void where prohibited
As a small, family owned publishing company, GiGi Books' main focus is to
create an online community that connects the works of talented artists and
authors with an international audience of child readers. GiGi Books' mission
is to provide an avenue for talented authors and illustrators to offer their
quality works to the consuming public. Our experience has taught us that
what is carried in the major book stores is what they determine will bring
the most profit and not necessarily what is best for the hearts and minds of
our children. As a result, the public is denied the opportunity to read
quality stories that are not deemed "most profitable" by large publishers
and bookstores. By participating in our writing contest you are helping the
writing community. The majority of the funds received from this contest will
be used to promote and advertise the works of the GiGi Books artists and
authors to the general public. We encourage anyone interested in promoting
the works of independent authors and artists to direct families to our
child-safe, advertisement free web site.
WRITING COURSES/WORKSHOPS
NEW WORKSTYLE SKILLS
HAVE YOUR SAY
FROM AN AUTHOR
Small Publisher/'publishette'
As a new person on the scene of publishing, I am very grateful to the small
publishers. My first work was published by a 'small publisher' and she has
launched me into my 'new career'. Triple D Books took me on as their
illustrator and both of us, very new to the market have learnt a great deal
together, including deals with up-front payments, royalties etc. Recently on
a trip to Melbourne specifically to introduce myself and my work to
publishers in person, it was the 'smaller' publishers who took most time to
see me. I did, with perseverance, get in to see some larger ones also. Leone
Peguero of Blue Cat Books even collected me from the train station and we
had a very pleasant time getting to know one another.
Remember that when dealing with correspondence it is hard to personalise
publishers. Even those at the larger publishing houses were very pleasant
and 'human' when talking face to face. Support the smaller publishers,
remember they are often a one-man (or woman!) show and this industry is one
of networking. I went to Leone as a result of a recommendation from another
publisher and so it begins.
Look out for Triple D's new poetry reciter 'Nest Egg' by Christabel
Mattingley in November. Triple D is one of the few publishers interested in
poetry and they have found a hungry market.
All the best 'publishette's'.
FROM AUTHOR Edel Wignell
I checked the magazines (listed in PIO issue 57) in The SCBWI Publications
Guide to Writing and Illustrating for Children. 'American Girl', 'Boys'
Quest', 'The Crystal Ball' and 'Wee-Ones' are fine, but 'Cicada' requests
ALL RIGHTS. The remaining magazines weren't listed.
Beware of magazines that request ALL RIGHTS as you gain a once-only payment
and lose opportunities for publication elsewhere, as well as other creative
possibilities. Many short stories grow in the imagination of the writer and
eventually become novels.
One of the aims of the SCBWI this year is to remind magazine publishers of
the moral rights of authors. Each individual writer being aware of rights
helps all writers everywhere.
FROM AN AUTHOR
'Gigglers' series
I'm glad to see that Blake plan to acknowledge receipt of mss sent for their
new 'Gigglers' series, and to return those that are unsuitable. I sent six
'Gigglers' mss in 2003, and they were neither acknowledged nor returned. C.
FROM AUTHOR Edel Wignell
'I'm happy to leave my two stories in the reject drawer and move on,' wrote
Jenny Mountfield.
Take heart, Jenny! Stop calling it a reject drawer. It sounds so hopeless. A
returns drawer, perhaps. I get hundreds of returns, but I don't call them
rejects. The possibilities for them are enormous. With a bit of imagination,
items can be shortened, lengthened, changed in many ways, or sent out
again - just as they are.
What suits one publisher doesn't suit another. Evaluation of mss is highly
subjective. A perfectly good story may be the wrong length for a series, or
the publisher may have recently published a story with a similar setting or
theme. Publishers get thousands of mss and haven't time to give reasons for
returns.
My first novel took eight years to find the right publisher. He kept it in
print for six years and it took off in the UK, USA and Sweden, as well, due
to his efforts. My favourite junior novel was rejected 53 times before it
was published. Kids love it, and tell me so.
It's good to get quickly to the stage when you don't feel rejected or
victimised when a ms is returned. Put it on the returns stack and, as
quickly as possible, send it out again. If you're lucky enough to receive a
comment, work on the ms and improve it. Persistence, perseverance and
patience are needed. Faith and hope, too. If we're writing because we must,
then let's enjoy the doing.
FROM AN AUTHOR
I was one of many authors and illustrators who volunteered their time for
the recent Fairfield children's book luncheon. The organisers - all
volunteers I assume - went to an enormous amount of time and trouble to make
the event a success. The room, with incredible animal balloons and dozens of
well-decorated tables, looked amazing. The bookstall was welcome and very
well handled, a fact I much appreciated. And food and drinks were plentiful.
I am grateful that strangers worked so hard to make a day like the luncheon
one that children will remember.
However, I'm afraid I didn't enjoy the day and won't be volunteering to go
to any more luncheons in future, unless they change their format. The
speakers - Patricia Bernard, Duncan Ball and Richard Harland - gave
wonderful talks and the African dancers were highly entertaining. However,
throughout the stage events most children and teachers in the audience
talked. None of the students or teachers at the table where I was placed
had read any of my books nor were they interested when I tried to talk about
them - in fact, while I spoke the teachers sent four kids away to find their
raffle tickets! Nobody spoke to me about books or about reading, but lots of
kids lined up for autographs who didn't know (or presumably) care who I was,
just so long as I scribbled something on their bits of paper.
I wish luncheon organisers would make autographs something special,
something to truly value. For example, offer autographs if kids can speak
about author's books. And too, could organisers also invite every one of the
author and illustrators up on stage to talk about at least one of their
books? Perhaps authors at tables could be asked to read from one of their
books, the illustrators to show their work to the children with whom they
are seated. Children received donated books if they were lucky enough to
have their raffle tickets drawn out of a bucket: why not have an
entertaining book quiz and make kids earn their prizes? Please organisers,
put the "book" into "book luncheon."
When I asked author colleagues on the day what they thought the children got
out of the day, they replied that they thought it was "just another day away
from school." I'm afraid that, for the majority of children attending these
luncheons, I agree. What do other PIO readers think?
FROM AUTHOR Anita Bell
1) I'm very pleased to announce the launch of my long-awaited new kids'
book, called Your Kids Money: how to earn it, save it and set them up for
life. It's a revolutionary new look at financial literacy for the whole
family (for ages minus two years to uni LOL!). To be launched October 3rd
and media, I'm very happy to say, is already running extremely hot. But if
any subscribers to PIO also enjoy earning income from writing articles for
their local newspapers, please feel welcome to contact me through my website
with the words "from pass it on subscriber" in the subject line, and we'll
try to ensure you get priority opportunity for the story if it hasn't
already been assigned.
2) RE: message in "have your say" section of PIO from a writer who advocated
contacting Tracey at QWC about a CD version of the Australian Writers'
Marketplace, please note that I was speaking to the QWC about this just this
week by coincidence and can tell you both good news and bad news...
The bad news is that Tracey doesn't work there any more...
The good news is that an online version will be launched this year at the
Brisbane Writers Festival (3rd October)
Website will be: www.awmonline.com.au
Prices to access it will be:
QWC Members $77 per year
Non members $88 per year
Organisations $132 per year
Multiple users/libraries etc POA.
Happy submitting!
:)
Anita B, who is quoted in Australian Writers' Marketplace as recommending it
to other Aussie writers. It's fantastic!!
P.s. Fantastic work with PIO Jackie!!! You're AMAZING!!! (And to Di Bates
for the original concept!)
:)))
(Thanks Anita! And best of luck with your new book - Jackie J)
CURIOUS
A friend and I have been discussing the use of exclamation marks in writing
and on this occasion, specifically in a children's story (not picture book).
We have found that whilst we agree on not over-using them, we disagree on
how often they should be used in a story. I am interested to know what
other people think about the use of exclamation marks, and also, what is the
editor's role as far as editing them out goes.
KD
HAVE YOUR SAY
May I add a little bit to the recent discussion on mentoring. Over the
years, I have given a few new writers one-on-one help and advice for an
agreed fee. I have also helped half-a-dozen or so others on a voluntary
basis. This has been completely my choice and these voluntary efforts have
not gone unrewarded. Most of these people are talented in other areas and,
among some gifts from them, I have two wonderful paintings on my office
wall. Money is nice, but it goes into the bank and disappears. The
paintings are permanent reminders of their appreciation, and, better than
that, some of the writers have become good friends. But I was astounded by
a request from one lady. At the end of the session (the only one I gave her,
I might add) she pulled out a sheet of paper prepared by her solicitor and
asked me to sign it. It was a declaration indicating that I would not use
any of her material for my own purposes. This insult was my reward for
helping her. The thought had never crossed my mind and even if it had, my
bottom drawer has a big folder full of plenty of my own ideas waiting to be
made into stories.
For those new writers who might be afraid that someone will steal their
ideas, there are simple ways of protecting your work. Keep all your rough
drafts, notes and references for your story in a folder. You probably
already do this anyway. Also, your computer files will have the date the
file was created and dates the story was edited and printed out. Anyone who
tries to steal your story will not have any of that and it is easy to prove
that you are the true author. ...Mappy
Edel Wignell's tribute to Jonathan Shaw
I'm sure I'm speaking for many writers when I say I'm shocked to hear that
Senior Editor, Jonathan Shaw, is leaving the NSW School Magazine. Over the
years, he has become our friend.
All writers, whether experienced or new, need encouragement and kindly
guidance. Jonathan takes the time to give it. Many creators for children who
are famous in Australia and overseas today started their careers in the
School Magazine. I started there (and in the Victorian magazines), and
though I am not famous, I have long been making a living as a writer.
A few years ago I was greatly impressed by Jonathan's response to a nervous
complaint about how my work was handled. None of us likes to complain to a
publishing house or a magazine. I was disappointed because one of the
illustrations did not match the text of my story. I was inclined to lift my
hands, shrug and say, 'Ah well! Bad luck!', but, thinking about the
confusion of the child readers, I decided to speak about it. On another
occasion, several drastic changes had been made to my text, and I felt that
it wasn't my style.
Both times, Jonathan was courteous and did not mention his staff. He
apologized, taking the blame and saying that he should have noticed. What a
wise and compassionate man!
I have a special reason for being grateful to Jonathan and grieved that he
is leaving. I've written this before, and I'll write it again. From 1980 to
1988 I sent 38 items (stories, articles, poems, plays) to School Magazine,
and only one - a humorous short story - was accepted. My work was being
accepted at the Victorian magazines, so I persisted. After Jonathan arrived,
several works were accepted every year, including many of the items rejected
earlier.
{This is the perfect example of the subjectivity of judgments. What suits
one editor at a magazine or a publishing house may not suit another. New
writers should not feel victimized or despair. Every rejection (and I still
get dozens) is part of an apprenticeship, and our writing is improving every
year. Only a few talented people are accepted immediately. Only a few don't
need an apprenticeship.}
Jonathan Shaw has given enormous service to the children, teachers and
parents of the state - and to other states, as well, for the magazine has
subscriptions far beyond New South Wales. In his position, he is responsible
for the maintenance of variety and high quality in the textual and
illustrative content of the magazines (with the support of a very competent
staff).
I believe that, over the years, thousands of children have been inspired and
encouraged to read, write and illustrate because they have been enthused and
enticed by the School Magazines. Children aren't interested in bylines and
editors, and they don't know the part that Jonathan Shaw has played in their
lives and the lives of their parents, but we creators, with love and
respect, recognize it.
I'm sure I speak for all when I wish Jonathan satisfaction and success in
his next endeavour.
Thanks
Thanks to both Jackie and Mappy for answering my question about beginnings,
middles and ends. Your help was much appreciated.
ARTICLES
THE WRITING STUFF (printed with permission)
Ian Irvine
Here's my cheeky Ten Point Plan on how to succeed in the popular
fiction-writing game. Best of all, only two of the ten points require you to
have any TALENT whatsoever! For the rest, initiative and hard work will do.
You may, of course, be an undiscovered GENIUS, in which case you can skip to
the end. On the other hand, if you lack talent and the inclination to work,
but have wheelbarrow loads of LOW CUNNING .
Be original but not TOO original. To succeed as a popular writer you need to
be a little bit original, but not so original that your book is difficult to
read. Nobody HAS to finish it, after all, and what ordinary readers want is
more of the same, only a little bit different. Remember, you have to impress
your readers, not the critics. Critics are jaded creatures who've seen too
much of 'more of the same', so what excites them is NOVELTY. Fortunately the
great book buying public don't read reviews, therefore what the critics
think isn't relevant to your success (and furthermore, see point 9). If
you're not planning to be the least bit original, that's not a big hurdle
either. The bookshops are full of epic fantasy quests recycling the endless
struggle between GOOD VERSUS EVIL, clones of Harry Potter and 'BODICE
RIPPERS' where even the bodices on the covers are indistinguishable. But in
that case, see point 2.
Learn your trade BEFORE you send off your manuscript. Why would the public
want to read badly-written versions of The Lord of the Rings, Grisham,
Pratchett etc, when there is oodles of the real thing available? Writing is
a skill that many people can learn, but to write well, you have to REWRITE.
I meet a lot of hopeful writers who say they only do a couple of drafts, and
unfortunately that's the way their work reads - LIKE A DRAFT! Most
professional writers spend a lot more time on redrafting than they did on
the first draft, and it really shows. For myself, I do 6-10 drafts of my
work before the editor gets hold of it, and another couple afterwards, the
first draft being about 10% of my work on a novel. (Some have accused me of
being ANALLY retentive, a description I strenuously reject!)
Take ADVICE from professionals, not your mum. Do a writing course, or get an
agent if you can, or if not, SEDUCE a writer, editor or reviewer to look at
your work. Then, LISTEN to what they say. Professionals aren't always right,
but they're more likely to be right about your work than your mother, no
matter how sparkly clean she gets your underwear. If the advice of
professionals offends you (or is too hurtful to contemplate), you'll
probably never get published, unless you're that DARNED GENIUS again (point
11)! Don't listen to what your friends and relatives say about your book
unless they're all saying the same thing, and even then, if they say it's
wonderful, take that with a pillar of salt. PS, don't send your manuscript
to me; I'm acerbic, irascible and downright CURMUDGEONLY.
Make sure you've got a PLOT if you're writing for the public, because
ordinary readers want a good story for their $18.13 plus GST. (Can be
ignored if you're writing in the genre called 'literary fiction').
Interesting, believable CHARACTERS help too, but don't base them on people
you know, or Stephen King writes about, or you've come to love in your
favourite TV show. And get the details right! That means do your research,
and then make sure you UNDERSTAND it (there's nothing more laughable than a
beautifully researched idea that the author hasn't understood). Then,
REVISE, REVISE, REVISE to ensure everything is consistent throughout,
because if you make a mistake the reader will notice, and if it jars them
out of the world you've so carefully created, they'll NEVER read another of
your books. Hemingway rewrote the ending of For Whom the Bell Tolls 43
times, 'just getting the words right.' Now that's anal!
Go easy on GRAPHIC violence and foul language except where they're essential
to the story (and that's less often than you might suppose). A small amount
has impact but books full of the stuff are a big turnoff to many readers,
including me, and there are plenty of people even sicker than you writing
it. Too much of anything is BORING. Be subtle (excepting where you need to
be gloriously, deliciously, extravagantly over the top!). And leave out the
hundred pages of lovely dialect you worked so hard on. You're sure to get it
wrong, which makes you look a bigger FOOL than your character. Even if
you're an absolute master it's darn hard reading and dialect is like
garlic - a little bit is terrific, a lot, offensive. 'But I LIKE garlic.'
'Well, so do I, but not still festering on your BREATH the day after
tomorrow.'
Be PROFESSIONAL. It's incredibly hard to get published; don't make it harder
by producing a SLOPPY manuscript because if you do, no one will even look at
the first page. It's easy to present your work well and publishers expect a
manuscript to be done on a word processor, double spaced, wide margins,
nicely printed and not in some WHACKO font that's impossible to read, with
no spelling mistakes or weird grammar, and including the modern innovation
of page numbers and your name on the top of each page. If you do all that,
the publisher will PROBABLY look at the first page. Unfortunately, if they
don't find anything interesting there they won't look at any other pages, so
reach in and GRAB your reader by the small intestine from the first
paragraph, AND DON'T LET GO.
NETWORK. The big publishers get thousands of unsolicited fiction manuscripts
a year and the number they publish is between one and ten. In other words,
sending your ms to a publisher has a ONE IN A THOUSAND CHANCE of getting a
result. (Or less! Many publishers return unsolicited mss unread). So you've
got to get your opus out of the pile with 5,000 in it, and into the pile
with 50 or (hopefully) 5. How? USE YOUR CONTACTS -the sleazy writer your
sister-in-law once slept with in her slumming-it phase, your laughably
ill-named 'writing teacher', the publisher at a sci-fi convention who gave
you his card, mistakenly thinking you were someone important. If you don't
have any contacts, get out and make some. Join a writer's group, take a
course, go to literary festivals and lunches. MEET people in the industry
and SUCK up to them (in the most modest, sincere and charming way, it need
not be said!).
Once your book is ACCEPTED, be even more professional. Look (reasonably)
respectable when you meet the publisher or go for interviews (well, you are
a writer after all, so they won't expect miracles, but a loincloth is too
basic unless it's an Ice Age saga). Getting drunk and PUKING in the
publisher's briefcase at your launch creates a really bad impression, and
he'll remember it when you're begging for an advance on your next advance.
Be on time for meetings. Meet your deadlines! Don't whine or slag your
editor/publisher/agent/publicist off (or, if it's a WHINING competition with
other writers and you're feeling left out, be discreet. Try NOT to win).
Offer timely, constructive comments during editing, cover design, on the
blurb, and during planning of the promotional campaign (if any). Prepare for
talks, panels and interviews so you have something interesting to say. If
nothing interesting has ever happened in your life, MAKE SOMETHING UP!
You're supposed to be a writer, after all. When you do interviews, tailor
them to the audience. A group of working class mums in the western suburbs
would be bemused if you spoke about PLANETARY ENGINEERING; the fans at an SF
conference may not care to hear how yet another pimply, working class lad
made good in the big smoke.
You've signed the CONTRACT. Congratulations! I suppose you think they'll
want talk about your book. Ha! That's ancient history. The first question
your publisher will ask is, 'What are you working on now?' or, to put it
another way, why do you think Heinz has 57 varieties? SHELF CREDIBILITY! If
you've got one book out, no one could give a damn. If you've got ten titles
on the shelf, you must be good even if you aren't, and they're sure to sell.
Most writers only ever publish one book, so get the second one written
quick, before you're forgotten. Even better, end the first one on a
CLIFFHANGER. Best of all, write a series of three; or six; or twelve, end
them all on cliff-hangers (first, see points 1 to 5). Then, whenever a new
book comes out, with a bit of luck it'll bump up the sales of the previous
ones.
Get involved in promoting your work, AT ONCE. Half the books in your average
bookshop won't sell a SINGLE COPY there. Plenty of good books die because
nobody gets to hear about them, and you've only got a few months to do it.
You can't promote your book a year after it comes out - the unsold ones have
already been pulped and turned into BOG ROLLS.
There are at least 600 books published a week in Australia, plus all the
imports. Publishers can't afford to promote most of them, and the media
wouldn't be interested if they did (after all, 80% of people NEVER read
books). Most reviews in the mainstream media deal with writers who are
already famous, or books about famous people, so your book will probably
never be reviewed. Ah, but I can offer you a CUNNING PLAN .
a. You can't promote something that no one is interested in
(which, unfortunately, applies to most authors, new or old. There's no
quicker way to clear a shopping centre than to have a book signing there).
You've got to do something to attract people's interest. Any publicity is
good publicity, of course, but two days after the trial and sentencing the
FICKLE public will have forgotten all about you, so legal (if not
necessarily dignified) is best. Book launches (for popular fiction) are
generally a waste of money unless you're well known. It's probably better
for the publisher to spend the $200 promotional budget on handouts. If your
publisher doesn't want to do that, DO IT YOURSELF! You can get thousands of
full colour postcard-size leaflets printed for a few hundred bucks.
b. So if you want to sell books, GET OUT AND PUBLICISE THEM
YOURSELF! Use the local factor. Contact ALL the media: radio, local
newspapers, country TV etc, at every place you've ever lived. Give talks to
Rotary, old folks, schools or any other organisation that's prepared to
listen (it takes quite a while to scare them all off!). Use the Net -
hundreds of groups in cyberspace may be interested in your work. Give away
copies of your books to influential people. HASSLE your friends, relatives
and associates. Hand your leaflets out around the office and give one to
everybody who tries to sell something to you, including the taxi driver on
your way to the airport. If, after all that, you still have the damn things
left over, wallpaper your bedroom with them. That'll help with your
NARCISSISTIC STREAK, and who knows, if you do succeed in getting anyone to
come back to your place, they may even buy a copy before they run SCREAMING
into the night.
c. In our desperation to get publicity we tend to forget
that the best place to sell books is IN BOOKSHOPS! So do book signings, even
if no one comes (usually the case unless you invite everyone you've ever
met). You get useful publicity, they can't send the books back once you've
signed them and therefore the shop will make a big effort to sell the lot
over the next month or two. Write to a few hundred bookshops with a handful
of your leaflets. Actually there's only 1500 bookshops in Australia that
sell fiction so if you're really ENERGETIC you could write to the lot!
They're in the phone book, between 'Bolts and Nuts' and 'Boring
Contractors'. You can download the addresses from
http://www.yellowpages.com.au and do a mailmerge in no time at all.
d. Since I travel a lot, I go into bookshops all over the
country, say hello, talk about sales etc, tell them what I have coming up
(once you've got a few books in print, customers are always asking the
bookshops when the next one is coming out. Bookshops love to be able to say,
"Well, the author was here last week, seemed like a NICE BLOKE [hopefully,
see point 10], and he said ..."). Leave them a handful of your ENTICING
coloured leaflets - they look great sitting next to the cash register and
really help sales, and are so cheap. I don't see many other authors doing it
so chances are you'll have that marketing niche to yourself. Well, just you
and me, and I promise I won't slide yours into the BIN. I believe in
friendly competition - really I do!
e. Direct mail. Whatever you're writing, there'll be a
group of people interested in it. If your heroine does cross-stitch, for
example, market to all the shops and clubs that are into that kind of thing.
If the book is about DOLPHINS, promote to fishing, environmental and
conservation groups. Whatever the organisation or business, you can search
out and download all the addresses in Australia from
http://www.yellowpages.com.au/ in about 10 seconds. Print the labels from
your word processor and you're away. NEVER chuck out a mailing list or a
business card; anyone who knows you is a potential customer unless you're a
truly REPELLENT character. And if you are, work on it. People will buy your
books just so they can hate them.
f. And above all, be a MODEL author with your publisher,
because that really helps when they're deciding where to spend their
promotional dollars. The reliable, on-time author who really gets stuck into
promoting books gets the money, not the one who is a pain, constantly misses
deadlines, WHINES all the time and expects people to do everything for him
(or her). That's the sad truth, unless your books sell by the trainload. If
they do, you can positively REVEL in your nastiness and they'll still want
to buy you lunch. (At least, so I'm told!!).
g. Alternatively, you can sit back and hope your books are
so wonderful that they'll sell themselves. That happens too, but you'd get
RICH quicker by inventing a better rat trap (see 10).
Appear LIKEABLE, especially if you're not. It really helps if you're
pleasant, helpful and polite. Rude, aggressive whingers don't get far
(unless they're good at putting on an act), so PRETEND to be nice. If you do
it long enough you may even end up becoming nice, a sad end for a human
being, but look on the bright side - it gives you a brand new character to
use in your next book, one you'd never have thought of on your own. If
you're charming, charismatic, tall, slim, rich and BEAUTIFUL it's an added
bonus. But if you've got all that, why would you want to be a sad, lonely
writer, forever closeted in a freezing, WOODWORM-riddled garret writing
books that no one is ever going to read?
Ignore all the rules if you are that genius, but only after you've mastered
them. You might get away with it, but don't expect anyone to like you.
Everybody LOATHES a genius!
PUBLISHER GUIDELINES
AUTHOR/ILLUSTRATOR PROFILE
YOUR WRITING TIPS
**A new section that is begging for your attention. Please feel free to Pass
them On!**
DC Green's Writing Tips: Author of 'Erasmus James & the Galactic ZAPP
Machine
Story-bogging words
I'm a big fan of using words economically, especially in stories for
children. As if I am both judge and executioner, I weigh every adjective and
adverb. These words are fast becoming modern day dinosaurs. They tell
readers rather than show, seem to scare editors
and can make a story seem flabby, overwritten or purple.' I always ask
myself, 'Are all those descriptive words really needed?' Usually, the same
effect can be generated with a better noun or verb, making for a leaner,
more sinewy story.
I have a personal list of words I prefer to avoid, minimise or at least
weigh carefully. Some clog sentences; others are simply boring: very,
really, had, that, quick, fast, slow, big, little, hot, cold, walk, loud,
felt, move, stay, all, seem, then and assorted derivatives (moved, quickly,
slowing).
I also like to remove clauses like: she was, he is, there are, began to and
assorted variations.
'Was', especially in combination with an -ing word, is a prime story bogger.
E.g. 'He was running swiftly' can be written better as, 'He sprinted'
without any loss of meaning.
It's easy to run all the above words through the Find function. Each word
can then be judged in context. It's even easier if a whole bunch of stories
are done in one run. When I ran the above list through a 45,000 word ms
recently, I was able to lop around 2,500 words in one sweep! Once in brutal
edit mode, I also ripped out entire sentences that were redundant,
repetitive or just plain dull. Gruesome, but satisfying work!
By DC Green
http://dcgreenyarns.blogspot.com/
USEFUL BOOKS/WEBSITES
A new web forum for children's writers, publishers, illustrators,
librarians, booksellers and so on is now online at:
http://www.aprilsayre.com/forums/index.php
Although this is a US site, it already has postings from my some talented
'names'.
I hope somebody here finds it useful.
Writers Digest: - http://www.writersdigest.com/101sites/2005_index.asp
It has 100 top sites voted for writing tips. Tina.
STORYMAKING.COM
James Bonnet's Storymaking
The Quintessential Screenwriting and Creative Writing Web Site --
An Important Source of New Knowledge about Story, Story Structure, Creative
Writing, Screenwriting, the Creative Process and Storytelling
http://www.storymaking.com/door/
BOOK REVIEWS
The 2006 Australian Writers Diary
Flat Chat Press
Reviewed by Jackie Hosking
In front of me is a chunky, 200 page, spiral bound diary that you would
love. Apart from offering all the benefits of a well set out diary it also
includes tips, writing exercises and inspirational quotes. At the back on
page 121 begins an information section that lists professional
organizations, publishers and literary agents, writers' events, funding
opportunities, writing courses, competitions and awards, the list goes on
and on. It is a compact, all-in-one resource that I am looking forward to
putting to good use.
The 2006 Australian Writers Diary is in its second year of publication and
it sells for only $20.00.
It can be ordered directly from:
Fee Sievers
18 Diamond St
Eltham Vic 3095
Make a cheque out for $20 + $3.50 postage = $23.50 to 'fas creation'
Send a SSAE if you'd like a receipt.
Questions can be emailed to Fee at prohort@primus.com.au
The Whole Business with Kiffo and the Pitbull
Barry Jonsberg,
Allen and Unwin, 2004
Reviewed by Gail C Breese
Fifteen-year-old Calma Harrison is a girl with attitude and a Westinghouse
refrigerator for a mother!
She also has huge boobs you could rest a tray on; an image problem
to which many girls will relate. In a class of Year 10 boys, the personal
comments are predictable and embarrassing. So by wearing huge in-your-face
glasses for short-sightedness, Calma hopes everyone's eyes will be staring
at her face rather than her chest.
Through her funny and quirky journal, Calma describes a set of
characters-each with a comical astrological horoscope-and events that take
the reader on a fast-paced journey full of insightful and wacky impressions.
Her friend Jaryd Kiffling, better known as Kiffo, is introduced in Chapter 0
(yes, that's right, Chapter 0 is not a typo!) as the subject of an
assignment to demonstrate her understanding of the use of similes:
'Kiffo's hair is like a glowing sunset. ...Kiffo's nose is like butter on
toast. It was put on hot and it spread. ...His eyes are as brown as
diarrhoea, which only goes to prove that he is full of crap. ...His mind is
as shallow as a gob of spit in a drained swimming pool.'
These two friends couldn't be more different. Calma breezes through school,
more than a match for the teachers with her intelligence and quick-witted
comments. These earn her an End of Semester Report showing an A minus for
English but a C minus for attitude. A series of brief flashbacks explain a
little about the history of Calma and Kiffo's unlikely friendship, which has
endured since primary school. It also helps to explain why Kiffo is an angry
young man with a disruptive presence in the classroom and seemingly
satisfied to be a loser with no ambition to improve.
Kiffo's skills in classroom chaos saw the inexperienced English
teacher, Miss Leanyer, replaced by the formidable Miss Payne: a scary,
strict teacher whose demeanour and facial appearance quickly earns her the
nickname 'The Pitbull'.
The Pitbull stands no nonsense and instils fear into the class.
After setting down her own set of rules, all threatening detention or worse
if not adhered to, she sets the class a spelling test of 30 commonly
misspelled words. Kiffo achieves the grand total of one correct answer and
is punished with a detention, which he does not attend. The Pitbull focuses
her very unwelcome attention on him and accuses Kiffo of being a lazy,
revolting adolescent.
Calma feels compelled to speak up for him: '...You fail to
appreciate the effect of a dysfunctional family unit operating within his
socio-economic background.' She then goes on to say:
'The Kiffling household does not treasure academic success, nor does it
encourage excellence in anything other than excessive drinking and
flatulence.. It was, by any academic and intellectual standard, grossly
unfair.'
Kiffo and Calma receive another detention the following afternoon.
Kiffo is determined to have revenge and plans to trash The Pitbull's
house while she's out walking the dog. Against Calma's better judgement,
Kiffo persuades her to join him on a series of stakeouts where they get more
than they bargained for. The resulting hilarious consequences are
wonderfully described in Calma's journal entries, which resemble episodes of
Crimestoppers, TV police dramas and court scenes complete with camera angles
and descriptions of the sets.
Calma resents her mother working two jobs due to her misguided
pride that won't let her accept benefits. Mrs. Harrison believes she is
proving her love by providing as well as she can by working long hours. So
Calma communicates using notes addressed to 'Dear Fridge'. The relationship
deteriorates further when the police phone Mrs. Harrison at work regarding a
report that her daughter has been stalking The Pitbull. An argument between
mother and daughter is described in a painfully familiar way to both
teenagers and parents who battle to bridge the great divide of adolescence,
unrealistic expectations and misunderstandings.
Kiffo is more than ever determined to see The Pitbull arrested,
especially now she's involved with another suspicious character, but his and
Calma's investigations bring them less than positive results. The dog chase
description and a clever, extremely funny café scene with undercover
surveillance are both brilliant in detail and perception. The action isn't
just fast-paced, it's downright energetic.
Their final exciting attempt to acquire evidence for the police of
The Pitbull's criminal dealings has dramatic consequences. Calma has to
reassess her relationship with Kiffo and the series of events that have led
them to this point.
This novel deals with serious issues such as loyalty,
relationships, revenge and loss in an honest, amusing and entertaining way.
It's a load of fun and I recommend it for teenagers and anyone who remembers
their high-school days.
Gail C Breese
Children's Author and Illustrator
Design and Websites
breese@westnet.com.au
www.creakyg.com
INDEPENDENT CHILDREN'S BOOKSHOPS
**Note this is a new section - please feel free to add to it**
Not exclusively children's - but with a strong and knowledgeable emphasis on
books for young people:
Mostly Books,
Mitcham Shopping Centre,
119 Belair Road,
TORRENS PARK,
SA.
Phone:08 8373-5190
CRITIQUE GROUPS BULLETINBOARD
**Looking to create or join a critique group - here's the place!**
I received an email this week and was wondering if any of you know of
critique groups for younger people.thanks Jackie J
how long have you been writing: two years, roughly. three hundred or more
page drafts
what genre: fantasy/science fiction/romance... real life with magic and tech
thrown in. teens
nope, not published
mostly, people to tell me if stuff is wrong with the characters, because
they're the hardest things to do. as to offer, i don't know, i'm not sure i
have much. just what i've leant from scanning web addresses, writing 232
pgs, (third draft still in process) and reading all the books about writing
i can get my hands on in a small country town.
my name is sian, and, well this is a big bummer, and probably why this won't
work. i'm 14. it would be better if it was 15, but it's 14. i don't even
know why i'm sending this thing...
anyway, that's about it. thanks for looking...
Sian Chapman
MILESTONES
**A new section for members to share their achievements**
Edel Wignell has a new title for Year 6 in Pearson Australia's 'Chatterbox'
series: The Seven Wonders of the Ancient World. The wonderful illustrations
by Kim Fleming perfectly capture the size and grandeur of the Wonders.
INSPIRATIONAL QUOTES
Shunryu Suzuki:
"In the beginner's mind there are many possibilities, but in the expert's
mind there are few."
ADVERTISEMENTS
WRITERS CAREER CONSULTANCY offers a wide range of services to writers for
young people, including paid mentorship, mini-manuscript assessments,
helpful articles and websites, a book on how to develop your editing skills,
and so on. For more information and email and postal contact details, check
out www.enterprisingwords.com and/or contact widely published children's
author Dianne (Di) Bates. Testimonials are available on request. Di is also
currently available to present talks and/or workshops to your writers' group
in the Wollongong to Sydney, Campbelltown and NSW Southern Highlands' areas.
Excess Stock Clearance: Wanted - a distributor, bookshop staff or individual
PIO subscribers interested in buying a children's picture book featured on
t.v. and copies of BLMs of educational puzzles beloved by teachers, children
and older people, e.g. in hostels and nursing homes, because of the large
print. This is a great opportunity for subscribers to buy books cheaply for
Christmas presents. Contact hmtobin@dcsi.net.au for details or for flyer.
PASS IT ON SUBMISSION GUIDELINES
Submit contributions to jacket@smartchat.net.au
Comic Sans MS, 12pt, single-line spacing (not essential but helpful)
Mark PASS IT ON SUBMISSION in the subject line
Submit within the body of the email
Give your piece a title heading: eg New Publications; Seeking; General
Information; etc.
Email addresses and contributor contact details will be withheld unless
otherwise stated
Jackie Hosking
Editor/Compiler "PASS IT ON"
www.jackiehosking.com
posted by Jackie at 11:31 PM
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